Performance painting
Performance painting is an important part of my artistic practice. In these works, I paint the same subject repeatedly over a set period of time, often in response to places where I spend time. For example, I painted flies for seven days in London, ants in Japan, and bees in Germany.
The choice of these insects began intuitively as a way of observing and connecting with my surroundings. By focusing on a single subject over several days, the act of painting becomes both a process of observation and a record of time spent in a particular place.
Over time, I discovered that some of the insects I had chosen were becoming less common in their natural environments. While this was not the original purpose of the work, it introduced another layer of meaning and encouraged me to think more deeply about the relationship between people and the natural world.
During the performances, I wear a non-woven protective suit. The suit creates a visual distance between myself and the subject, while also suggesting ideas of protection, vulnerability, and uncertainty. Viewers may associate it with different contexts, including public health measures or environmental concerns, but I leave these interpretations open.
My performance paintings are not intended as direct activism. Rather, they are a way of paying attention to the places I inhabit and exploring connections between observation, memory, movement, and the everyday creatures that exist alongside us.
Scotland 2026 @ Weem, Aberfeldy
In collaboration with Berlin-based Butoh dancer Anna Barth, I painted rare insects found in Scotland, while Anna developed an improvised performance in response to the atmosphere and character of Weem Wood. Together, we created a site-specific work shaped by the woodland setting.
The name Weem derives from the Gaelic uamh, meaning “cave”.
Scotland 2025 @ Kingussuie
In the woods near Kingussie, close to Aviemore, I painted several insects associated with this area. Some of these species were not recorded this far north until recent years, reflecting the changing climate and the shifting distribution of wildlife.
Scotland 2025 @ Torness nuclear power plant
I was painting extinct insects in front of the Torness nuclear power plant in East Lothian, Scotland. I choose to paint extinct or possibly extinct insects as a comment on our ongoing destruction of wildlife and habitat.
Iceland 2019 @ Listhús Artist Residency
In April 2019, I spent one month in Ólafsfjörður, Iceland, as the sole resident artist at Listhús. The isolation of the small fishing town strengthened my connection with nature and encouraged a deeper sense of reflection.
During the residency, I exhibited my work and performed a piece painting imaginary butterflies. Local children later joined the performance, adding a new dimension to the work.
https://www.listhus.com/
Leipzig 2018 @ PILOTENKUECHE
My performance in Leipzig took place in a partially abandoned industrial building. The raw character of the space became an important part of the work. Unlike previous performances, I did not use vinyl or tracing paper, allowing a more direct and immediate relationship between my body, the site, and the act of painting.
https://www.pilotenkueche.net/
Iceland 2018 @ Heima Artist in Residency
From April to July 2018, I spent three months in Seyðisfjörður, Iceland. The unique light, clear air, and dramatic landscape created an atmosphere unlike anywhere I had experienced before. The environment often felt both grounding and expansive, encouraging reflection on my relationship with nature and the wider universe.
https://www.h-e-i-m-a.com/
UK 2017 @ The Metropole Gallery, Folkestone
For the opening of the exhibition Leaving Language, I performed Painting Day by Day in the Anthropocene. During the performance, I painted British butterflies one by one on tracing paper.
The exhibition was organised by Waugh Office.
https://www.waughoffice.com/
https://www.waughoffice.com/copy-of-tamaki-kawaguchi-leaving-la
Vietnam 2016 @ Hanoi Botanical Garden
Over several days, I painted dragonflies one by one in Hanoi Botanical Garden. Despite the hot weather, many children stopped to watch the process. I chose dragonflies because they are considered symbols of good luck in Vietnam.
Vancouver 2015 @ A House Garden
I spent three days in my sister’s garden painting gold beetles. I chose them because Canada is home to more than 9,000 species of beetle. Neighbours often stopped by to watch and chat while I worked.
Kyoto 2013 @ Art Space Niji
For six days at the gallery, I painted butterflies one by one. I was drawn to the variety of their colours and shapes, and each butterfly presented a different challenge. I also enjoyed conversations with visitors who stopped to watch the work as it developed.
Berlin 2010 @ To-Be | Tokyo-Berlin: Communication Art Exhibition
At the Freies Museum Berlin, I drew bees one at a time, as I saw them as a symbolic insect of Germany. The exhibition featured 28 artists from Japan and Germany exploring common ground in the “Being and Becoming” of both cultures.
The exhibition was organised by Tatsumi Orimoto.
https://www.kunstfaktor.de/to-be/2010/downloads/to-be_pressreleases.html
https://culture360.asef.org/news-events/tokyo-berlin-communication-art-exhibition
Osaka 2009 @ Kadoma Art Event
I participated in an art event held in a deserted shopping street in Osaka. For this project, I spent a week drawing ants, one by one. I chose ants because Japanese people are often described as being as hardworking as ants. I enjoyed chatting with local children and residents in the Kadoma shopping district.
London 2002 @ Chelsea College of Art and Design
London 2002 – Chelsea College of Art and Design
At my second-year show, I began this project by painting a fly inside a white framed box. The work grew from my fascination with the appearance of flies in art, particularly Damien Hirst’s A Thousand Years (1990) and Portrait of a Woman of the Hofer Family by a Swabian artist.
Over the years, this project has been made possible thanks to the support of my friends, family, and fellow artists. Thank you for inviting me to your exhibitions and for giving me the courage to perform in sometimes remote and challenging places.